Plus, using pure sin waves can generate abnormal standing waves in the system that you normally wouldn't get. I am a fan of pulses or noise.

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gave a simple solution, and i agree flat response doesn't always sound the best eg: i like increases in some areas such as bass regions (60hz on a graphic EQ for example) because i like a bit extra bass as long as its clean, but eh, also depends on the system at hand, on my mine i find less cut at 60hz is preferable

Set gain throughout the system and crossovers (if applicable) to get it as flat as possible. Then time align or whatever if you do...then EQ to suit taste. I listen flat almost all the time myself. The only EQ I even have in the pipe that isn't defeated is the Q-bass on the PPI sub amp - 1-band 18dB parametric I use to boost older recordings' bottom at lower volumes (ala loudness) if need be. Everything else I leave flat.

Also should be pointed out (in captain obvious fashion) there is a solid difference between flat EQ and EQing for flat response

Flat response is good for setting up gains and finding resonances to deaden and stuff, typically worthless for actually listening to music. Well matched components and a good install will likely need little EQ work to get it sounding ideal. Poorly matched components will usually need a lot, even if they are individually very good. Just depends what you want out of the setup, what your installation limits, the skill of the installer and how much money you have to spend on it all.

And forget the fact that microphone response isn't an linear absolute...and human hearing response is absolute in being not even slightly linear..for instance you would have to ramp levels variably such that your bottom was louder at low volumes and reduced itself, relatively, as levels increased, to counter the response of a typical human ear. Etc.

Also should be pointed out (in captain obvious fashion) there is a solid difference between flat EQ and EQing for flat response

Flat response is good for setting up gains and finding resonances to deaden and stuff, typically worthless for actually listening to music. Well matched components and a good install will likely need little EQ work to get it sounding ideal. Poorly matched components will usually need a lot, even if they are individually very good. Just depends what you want out of the setup, what your installation limits, the skill of the installer and how much money you have to spend on it all.

And forget the fact that microphone response isn't an linear absolute...and human hearing response is absolute in being not even slightly linear..for instance you would have to ramp levels variably such that your bottom was louder at low volumes and reduced itself, relatively, as levels increased, to counter the response of a typical human ear. Etc.

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i always start off with everything EQ'd to 0 as much as possible and as time goes on I make appropriate adjustments which is why I suggested he do the same in the first place, it will provide an appropriate foundation for what he wants.

i always start off with everything EQ'd to 0 as much as possible and as time goes on I make appropriate adjustments which is why I suggested he do the same in the first place, it will provide an appropriate foundation for what he wants.

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This is solid..as is the suggestion to go DOWN not up. Cut with EQ, never boost. Boost with gain and cut out what you don't want.